DOCSLIB.ORG

Mounir Fatmi

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Mounir Fatmi MOUNIR FATMI Born 1970 in Tangier, Morocco Lives and works between Paris, Lille and Tangier SOLO EXHIBITIONS 2018 180° Behind Me, Göteborgs Konsthall, Göteborg This is My Body, Art Bärtschi & Cie, Geneva This is My Body, Analix Forever, Geneva Holy Water, Galerie de Multiples, Paris The Human Factor, Tokyo Metropolitan Teien Art Museum, Tokyo The Day of the Awakening, CDAN Museum - Centro de Arte Y Naturaleza, Huesca 2017 Peripheral Vision, Art Front Gallery, Tokyo Transition State, Officine dell'Immagine, Milan Ghosting, Galerie de Multiples, Paris Fragmented Memory, Goodman Gallery, Johannesburg (IM)possible Union, Analix Forever Gallery, Geneva Survival Signs, Jane Lombard Gallery, New York The Pavilion of Exile, Galerie Delacroix, Tangier Inside the Fire Circle, Lawrie Shabibi, Dubai Darkening Process, Analix Forever Gallery, Geneva Under the Skin, Maisons des Arts du Grütli, Geneva 2016 The Index and The marchine, ADN Platform, San Cugat del Vallès A Savage Mind, Keitelman Gallery, Brussels Depth of Field, Labanque, Béthune Darkening Process, The Marrakech Museum for Photography and Visual Arts, Marrakech 2015 History is not mine, Metavilla, Bordeaux Permanent Exiles, MAMCO, Geneva Art et Patrimoine: C'est encore la nuit, Prison Qara - Institut Français de Meknès, Morroco Modern Times, Miami Beach Urban Studios Gallery - Florida International University, Florida Constructing Illusion, Analix Forever, Geneva 2014 Walking on the light, CCC - Centre de Création Contemporaine, Tours Light & Fire, ADN Galeria, Barcelona Art of War, ADN Platform, Sant Cugat del Vallès They were blind, they only saw images, Galerie Yvon Lambert, Paris The Kissing Circles, Analix Forever, Geneva 2013 History is not mine, Paradise Row Gallery, London Spot On: Mounir Fatmi, Museum Kunst Palast, Düsseldorf Le Voyage de Claude Lévi-Strauss, Institut Français, Casablanca La Ligne Droite, Galerie Fatma Jellal, Casablanca The Blinding Light, Analix Forever, Geneva Post Tenebras Lux, Festival A-Part, Les Baux-de-Provence Intersections, Keitelman Gallery, Brussels 2012 Suspect Language, Goodman Gallery, Cape Town Kissing Circles, Shoshana Wayne Gallery, Santa Monica, California Oriental Accident, Lombard-Freid Projects, New York 2011 The Angel's Black Leg, Galerie Conrads, Düsseldorf Between the lines, Galerie Hussenot, Paris Without Anesthesia, Analix Forever, Geneva Megalopolis, AKBank Sanat, Istanbul Without Anesthesia, Analix Forever, Geneva Architecture Now!, Espace Culturel Le Chaplin, Mantes-la-Jolie Linguaggi Costituenti, Fondazione Collegio San Carlo, Modena 2010 Seeing is believing, Galerie Hussenot, Paris The Beautiful Language, Galerie Ferdinand van Dieten, Amsterdam Underneath, Kiosque Raspail, Ivry-sur-Seine 2009 Fuck architects: Chapter III, FRAC Alsace, Séléstat Minimalism is Capitalist, Galerie Conrads, Düsseldorf Hard Head, Tank TV - Web-based project 2008 Fuck architects: Chapter III, Biennale de Bruxelles, Brussels Fuck architects : Chapter II, Centre d'art contemporain Le Creux de l'Enfer, Thiers Connexion 02, Galerie Delacroix, Tangier 2007 Fuck Architects : Chapter I, Lombard-Freid Projects, New York In search of paradise, Ferdinand van Dieten Gallery, Amsterdam Something is possible, Shoshana Wayne Gallery, Los Angeles J’aime l’Amérique, La Maison Rouge, Fondation Antoine de Galbert, Paris Sans histoire, Musée Picasso - La guerre et la paix, Vallauris 2006 Face, les 99 noms de dieu, Galerie Saint Séverin, Paris Tête dure / Hard head, Bank Galerie, Paris 2005 Bad connexion, Saw Gallery, Ottawa Ecrans noirs, Centre d'art contemporain intercommunal, Istres L'évolution ou la mort, Centre Culturel Marcel Pagnol, Fos-sur-Mer Commissariat Projet le Reste, Tour Eiffel, Bourges 2004 Comprendra bien qui comprendra le dernier, Centre d'art contemporain Le Parvis, Ibos Survival signs, oeuvres video 1990-2004, Vidéokiosque 01, Pau Dieu me pardonne, Bureau d'Art et de Recherche, Roubaix Jusqu'au bout de la poussière, Espace des arts, Colomiers 2003 Obstacles, Next flag, Migros Museum, Zürich 2002 Ovalprojet, CAC Le Chaplin, Mantes-la-Jolie 1999 Liaisons et déplacement, Musée des Arts Décoratifs, Paris GROUP EXHIBITIONS 2019 Setouchi Triennale 2019, Awashima Island, Awashim Speaking Power To (Post) Truth, Jane Lombard Gallery, New York Borders, James Cohan Gallery, New York 2018 Echigo Tsumari Art Triennale, Echigo Tsumari, Niigata Biennale Agora d'Architecture de Rabat, Culée Creuse, Rabat L'heure Rouge, 13eme Biennale de Dakar, Dakar Collection 100 %, Galerie de Multiples, Paris Cut Up/Cut Out, Museum of Arts & Sciences, Daytona Beach Basically It's Very Practical, IKOB - International Art Centre East Belgium, Eupen Robert Montgomery mounir fatmi, Analix Forever, Geneve Revolution Generations, Mathaf Arab Museum of Modern Art, Doha Second Life, Musée d'Art Contemporain Africain Al Maaden (MACAAL), Marrakech Beyond Borders, Fondation Boghossian – Villa Empain, Brussels EXOTIC × MODERN: French Art Deco and inspiration afar, Tokyo Metropolitan Teien Art Museum, Tokyo People Get Ready, Nasher Museum of Art at Duke University, Durham Un œil ouvert sur le monde arabe, Institut du Monde Arabe, Paris Somewhere Behind the Eyes, Sammlung Philara, Düsseldorf Cut Up/Cut Out , Ellen Noël Art Museum, Odessa BRIC-à-brac | The Jumble of Growth, Galleria Nazionale d’Arte Moderna e Contemporanea, Rome 40 ans de collection et un film documentaire de 60 min, Fondation Fernet-Branca, Saint-Louis Motherland in Art, Museum of Contemporary Art in Krakow, Krakow Extensions de graffitis, Fort Saint-André, Villeneuve-lez-Avignon MOVING ART, Analix Forever, Geneve Resist!, Bozar Center for fine arts, Brussels Al Musiqa, Philharmonie de Paris - Cité de la musique, Paris A Journey to Freedom, The Tasmanian Museum and Art Gallery , Hobart Narrative Means, Goodman Gallery, Johannesburg Scripted Reality, 10 Hanover, London Le Pavillon de l'Exil - Off de la Biennale de Dakar, Institut Français de Saint Louis, Saint Louis Cut Up/Cut Out , Pensacola Museum of Art, Pensacola Systems of Demarcation, Von der Heydt-Kunsthalle, Wuppertal-Barmen 2017 Newwwar. It’s Just a Game?, Bandjoun Station, Bandjoun Cut Up/Cut Out, Huntsville Museum of Art , Huntsville Friends & Family (vol2), Galerie Eva Hober, Paris La Nuit Blanche, Institut Français de Cotonou, Cotonou The Absence of Paths, Tunisian Pavilion, 57th Venice Biennale 2017, Venice 7eme Biennale d'Architecture de Shenzhen, Nantou Old Town, Shenzhen Rencontres de Bamako, 11ème Biennale Africaine de la Photographie, Bamako, Mali Diaspora Now, Gifu Museum, Gifu, Japan Mémoire Vive, L29 Art Studio, Rome #HYPERMuralité, 15ème biennale d'art contemporain Alios!, Paris Lettres ouvertes, de la calligraphie au street-art, Institut Des Cultures d'Islam, Paris La Sfinge Nera Dal Marocco al Madagascar, Primo Maerlla Gallery, Milan The Silences Between, Goodman Gallery, Johannesburg Cut Up/Cut Out, Bellevue Arts Museum, Washington, USA The Absence of Paths, Tunisian Pavilion, 57th Venice Biennale, Italy Beautiful Stranger, Museum De Wieger, Deurne, Netherlands E-Mois, Museum of African Contemporary Art, Al Maaden, Morocco Mirror, Mirror, Mudac, Lausanne, Switzerland The Black Sphinx, from Morocco to Madagascar, Primo Marella Gallery, Milan The Eye of LEBANON, OUROUBA, Beirut The Silences Between, Goodman Gallery, Cape Town E-mois, Musée d'Art Contemporain Africain Al Maaden (MACAAL), Marrakech Beautiful Stranger, Museum De Wieger, Deurne Exposición Internacional Al-Tiba9, Arteria Bcn Gallery, Barcelona Poésie Abstraite, MA GALERIE – Samuel Le Paire, Paris 57th Venice Bienale 2017, NSK State Pavilion, Venice Saout Africa(s) - SAVVY Funk - Documenta 14, SAVVY Contemporary, Berlin In Friction with Fiction, Conrads Gallery, Düsseldorf Le monde et le reste, Galerie Bernard Ceysson & Bénétière, Paris, France Independently, Keitelman Gallery, Brussels Full Moon, Analix Forever Gallery, Geneva Altiba9, Universitat Pompeu Fabra Barcelona, Barcelona Arts Ephémères, Château de Servières, Marseille 10 years old, Fondazione Fotografia Modena, Modena Generation Flash, Fondation Alliances, Casablanca State of the World, H&R Block Artspace, Kansas City Africa, Assume Art Position!, Primo Marella gallery, Milan ART COLOGNE, Cologne, Germany EN L’OCCURRENCE, Centre Européen d’Action Artistiques Contemporaines, Strasbourg, France Darkening Process, Analix Forever Gallery, Geneva, Switzerland Religion : miroir de la société - Une histoire, des regards, Musée du Pays de Hanau, Bouxwiller 3 Collectionneurs Autrement, ETE 78, Ixelles, Belgium The Index and the Machine, ADN Platform. San Cugat Del Vallès, Spain On the Origins of Art, Museum of Old and New Art (MONA), Hobart, Australia 2016 Cut up/cut out, Bedford Gallery, Walnut Creek BRIC-á-brac The Jumble of Growth, Beijing Today Art Museum, Beijing D'une méditerranée, l'autre, Hôtel des Arts, Toulon On the Origins of Art, MONA - Museum of Old and New Art, Hobart Dépenses, First part of the trilogy La Traversée des Inquiétudes, Labanque, Béthune Essentiel Paysage, Musée d'art contemporain africain Al Maaden, Marrakech All I Want For Christmas Is..., Galerie de multiples, Paris Love Stories, Les Photaumnales, Beauvais En garde, l’art s’engage!, Musée Bartholdi, Colmar Dada est tatou, Galerie de multiples, Paris Urban Touch, Kunsthalle Faust, Hannover L’œil du collectionneur – Focus 1, Musée d'Art Moderne et Contemporain de Strasbourg, Strasbourg, France Exile Pavilion, Archives Nationales Hôtel de Soubise, Paris Fundamental, 5th Mediations Biennale 2016, Poznan Setouchi Triennale, Awashima Community Area, Japan
Load more

Recommended publications
  • The Conflicting Transformations of the City in the Photographs of Contemporary Moroccan Artist Yto Barrada
    Uniconflicts 113 09 The conflicting transformations of the city in the photographs of contemporary Moroccan artist Yto Barrada Chourouq Nasri University Mohammed 1, Oujda, Morocco e-mail: [email protected] INTRODUCTION Yto Barrada is a contemporary female Moroccan artist who uses photography to criticize the government policies concerning the city and its inhabitants. Her focus is on her hometown, Tangier, which she transforms into a series of pictures and forces us to perceive in a new way. In her photographs, Tangier is illustrated as a closed city, full of boundaries and walls. Its massive concrete buildings are similar and faceless; its new architecture is soulless and its urban development projects do not take into consideration the real needs of the community. In this chapter, I explore the way Barrada reflects on public space and the city in her photographs. Barrada’s work also includes films, publications, installations and sculptures, but my focus in this paper is on her photographs. Yto Barrada works with pictures and I work with words to engage in a debate concerned with urbanism and the city in Morocco. 114 Moroccan artist Yto Barrada There has always been a close link between art and architec- ture, especially in the early part of the twentieth century. City photography goes back to the beginning of the last century with photographers such as Walker Evans, Berenice Abbott and Eugène Atget. In Cities and Photography, Jane Tormey explains how “photographic representations translate the city for us and con- tribute to how we conceive it, as they visualize changing attitudes to the world and ourselves” (xiv).
    [Show full text]
  • SECULARISM NARRATIVES and ARAB AMERICAN FICTION a Dissertation Presented to the Faculty of the Graduate School of Cornell Univer
    SECULARISM NARRATIVES AND ARAB AMERICAN FICTION A Dissertation Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Danielle Aberle Haque May 2014 © 2014 Danielle Aberle Haque SECULARISM NARRATIVES AND ARAB AMERICAN FICTION Danielle Haque, PhD Cornell University 2014 “Secularism Narratives and Arab American Fiction” focuses on contemporary fiction’s challenge to the liberal political construction of minority religious practices and community life as incompatible with modernity, progress, and secularism. U.S. secularism is not simply the absence of religion from the public sphere, but is underwritten by a particularly U.S. Protestant conception of religion that has historically shaped assumptions about what it means to be both religious and secular in the United States. Looking to Mohja Kahf, Rabih Alameddine, Ninar Esber, Mouir Fatmi, and Hasan Elahi, I explore immigrant narratives that work outside religious/secular binaries; rather than operating unequivocally within the terms of religious categorizations, contemporary writers often recast those terms and respond to the secularism narrative by scrambling the terms of the religious/secular binary through lived, embodied religious experience. These works dispute the dominant United States narrative of secularism and its claim to be universal and progressive; rather, they reveal how prohibitory secularism enforces an exclusionary citizenry through racialized immigration policies, Islamaphobic political rhetoric and popular culture, and the promotion of specific economic forms and ideologies worldwide. I argue that secularism is entangled with global ideologies of human rights, but also with the particularly United States legal discourses of privacy and property.
    [Show full text]
  • February 11 — March 18
    FEBRUARY 11 — MARCH 18 H&R Block Artspace at the Kansas City Art Institute kcai.edu/artspace @hrblockartspace Vito Acconci American, born 1940 Wav(er)ing Flag, 1990 lithograph Gift of Landfall Press, Collection of the Kansas City Art Institute Vito Acconci, who began his career as a poet, gained renown (and infamy) in the 1970s for performance-based work through which he challenged borders between public and private space and interrogated the limits of his own body. roughout his performative work and subsequent sculpture, installation, and architecture have run interests in language, power, and the body/self in relationship to space and society. Included have been a number of prints, sculptures and installations incorporating ags, including architectural “houses” in which viewers are literally walled-in by American and/or Soviet ags, as well as a more generalized Flag Full of Holes (1988), which is precisely what the title describes. Wav(er)ing Flag, a suite of six color lithographs that combine to form a 12-foot long American ag, reects many of Acconci’s ongoing concerns, both as it pushes beyond the borders of the conventional print format and as it challenges the authority of ag, deconstructing its symbolic power and complicating its meanings. Here, the text of the Pledge of Allegiance (written in 1887, adopted by Congress in 1942, and to which “under God” was added in 1954) is brought into conversation with the ag itself, breaking down into fragments—literally falling apart—as it stretches across the stripes of this absurdly long ag. Exemplifying Acconci’s dexterity manipulating language and use of repetition as formal and conceptual strategy, the blue text above and below the pledge interrogates the notions of unity, strength, and the freedom “for which it stands.” Words like “fame,” “mad,” “rich,” “un,” and “lie”, are called out as alternate assessments of the nation’s character, while pairings such as “peg/leg” “fag/lag,” “us/just,” “edge/ledge,” and “divisible/die” allude to its vulnerability.
    [Show full text]
  • 2011 Benefit Auction
    2011 BENEFIT AUCTION CINÉMatHÈQUE DE TANGER Auction JULY 08 AT 6:30PM Le Garage du Grand Hôtel Nord Pinus rue du Docteur Fanton – 13200 Arles Preview July 05–07 (6–9pm) July 08 (10am–6pm) OLD AND CONTEMPORARY PHOTOGRAPHS FROM TANGIER CINEMatHEQUE DE TANGER 2011 BENEFIT AUCTION AUCTION JULY 08 at 6:30PM Le Garage du Grand Hôtel Nord Pinus rue du Docteur Fanton – 13200 Arles Preview July 05–07 (6–9pm) July 08 (10am–6pm) Information Julie Arnoux +33 6 74 91 70 15 [email protected] Catalogue and online auction www.pba-auctions.com Pierre Bergé et Associés précise qu’il n’y a aucun frais acheteur sur le montant adjugé. La totalité de la vente sera reversée au profit de la Cinémathèque de www.cinemathequedetanger.com Tanger. Photographs by Francis ALÿS Leila ALAOUI Daniel ARON Eric AUPOL Agnès B. Bruno BARBEY Yto BARRADA Roland BEAUFRE Michel BEINE Faouzi BENSAIDI Christophe BOURGUEDIEU Adam BROOMBERG and Oliver CHANARIN Romain CARREAU A. CAVILLA Tessa CODRINGTON Jem COHEN Stuart COMER Shezad DAWOOD Mohamed EL BAZ Seamus FARRELL Mounir FATMI Allen GINSBERG Harry GRUYAERT Marco GUERRA Alexandre GUIRKINGER Couli JOBERT Alain KANTARJIAN Thomas MAILAENDER Joseph MARANDO Marie MURACCIOLE Malik NEJMI Cherie NUTTING J.P. Benoit PEVERELLI Lola REBOUD Maxence RIFFLET Gérard RONDEAU Leo RUBINFIEN Paul SCHMIDT Simona SCHNEIDER Yves TARALON Ambroise TEZENAS Ramdane TOUHAMI Georges Washington WILSON Omar YOUSSOUFI And anonymous photographs Georges Washington WILSON (attribué à) La Cour de justice, place de la Casbah, Tanger, Maroc, circa 1880 Vintage albumen print, location and titled on print verso H 21,1 x L 15,4 cm 200 / 300 euros Donation from Madison Cox 1 A.
    [Show full text]
  • Calligraphic Animation
    417930ANMXXX10.1177/1746847711417930MarksAnimation: An Interdisciplinary Journal Article Animation: An Interdisciplinary Journal 6(3) 307–323 Calligraphic Animation: © The Author(s) 2011 Reprints and permission: Documenting the Invisible sagepub.co.uk/journalsPermissions.nav DOI: 10.1177/1746847711417930 anm.sagepub.com Laura U. Marks Simon Fraser University, Vancouver, Canada Abstract Calligraphic animation shifts the locus of documentation from representation to performance, from index to moving trace. Animation is an ideal playing field for the transformative and performative qualities that Arabic writing, especially in the context of Islamic art, has explored for centuries. In Islamic traditions, writing sometimes appears as a document or a manifestation of the invisible. Philosophical and theological implications of text and writing in various Islamic traditions, including mystic sciences of letters, the concept of latency associated with Shi‘a thought, and the performative or talismanic quality of writing, come to inform contemporary artworks. A historical detour shows that Arabic animation arose not directly from Islamic art but from Western-style art education and the privileging of text in Western modern art – which itself was inspired by Islamic art. A number of artists from the Muslim and Arab world, such as Mounir Fatmi (Morocco/France), Kutlug Ataman (Turkey), and Paula Abood (Australia) bring writing across the boundary from religious to secular conceptions of the invisible. Moreover, the rich Arabic and Islamic tradition of text-based art is relevant for all who practice and study text-based animation. Keywords animation, calligraphy, colonialism, documentary, Islamic art, modernism, Mounir Fatmi, mysticism, performativity, text-based art A number of artists in the Muslim and Arab world produce films and videos that animate the writ- ten word: works we can call calligraphic animation.
    [Show full text]
  • Mounir Fatmi
    mounir fatmi 42. Racines 01 | Roots 01 2015-2016, triptych, coaxial antenna cable and staples, 220 x 122 cm each. Exhibition view from Fragmented Memory, Goodman Gallery, 2017, Johannesburg. Courtesy of the artist and goodman Gallery, Johannesburg. La première chose qu’on peut dire de la sculpture racines de "Roots,” a sculpture by mounir fatmi is a complex work; mounir fatmi : c’est qu’elle est complexe. Complexe par la complex in its production, a meticulous process developed by technique que l’artiste utilise depuis l998 qui consiste à faire the artist in 1998, of manipulating white antenna cable to des bas reliefs avec des câbles blancs d’antennes. Ce create detailed wall-reliefs, this material, which has been matériau utilisé depuis la création de la télévision pour relier used since the invention of the television to connect a TV to une antenne à un téléviseur et diffuser des images, constitue the antenna to transmit images, is one that has long la base première de l’œuvre. interested mounir fatmi. Ce câble d’antenne devient en même temps une archive In this series of work, the antenna cable serves as both core précieuse puisque c'est un matériau en voie de disparition. material and valuable archive in the sense that it is quickly Ainsi l’œuvre et son archive se trouvent au même niveau et becoming an obsolete material. As such, the work itself and crée un dialogue. L’archive crée l’œuvre et l’œuvre conserve this archive find themselves in a similar position and create a l’archive.
    [Show full text]
  • Contemporary ART MARKET 2010/2011The Artprice Annual Report
    CONTEMPORARY ART MARKET 2010/2011ThE ARTPRICE ANNUAL REPORT ART & CRISIS ART MARKET CAPITALS ARAB CONTEMPORARY ART / OVERVIEW PHOTOGRAPHY AND VIDEO / PERFORMANCE AND PROSPECTS TOP 500 CONTEMPORARY ARTISTS SPECIAL 2011 CONTEMPORARY ART MARKET 2010/2011ThE ARTPRICE ANNUAL REPORT Guess which art market company is quoted by over 6,300 media outlets worldwide? · Alchemy and mysteries of Artprice http://web.artprice.com/video Discover the secret universe of Artprice Artprice is the world leader in art market information with over 27 mil- updates its databases with information from 3,600 international auc- lion auction prices and indices covering over 405,000 artists. Artprice tion houses and provides daily information on art market trends to Images® off ers unlimited access to the largest database of art market the main fi nancial press agencies and to 6,300 press titles worldwide. information in the world, a library of 108,000,000 images and engra- Artprice off ers standardised adverts to its 1,300,000 members and is vings of art works from 1700 to the present day. Artprice continuously the world’s leading market place for buying and selling works of art. THE WORLD LEADER IN ART MARKET INFORMATION Artprice is listed on Eurolist by Euronext Paris: Euroclear: 7478 - Bloomberg: PRC - Reuters: ARTF with 18,000 shareholders. Best stock performance with a +270% increase in value and €630m traded between 01 Jan and 31 Aug 2011 THE LATEST TRENDS SUMMARY THE CONTEMPORARY ART MARKET 2010/2011 THE LATEST TRENDS Art & Crisis . page 9 Art as an alternative investment . page 11 The best semester ever .
    [Show full text]
  • Mounir Fatmi
    mounir fatmi 54. D'où vient le vent | From where comes the wind 2017, France, 13 min 16, HD, color, stereo. Courtesy of the artist and Art Front Gallery, Tokyo. Ed. of 5 + 2 A.P. From where does the wind come that forces people to D’où vient le vent qui pousse les hommes à migrer ? D’où emigrate? Where does it come from and where does it blow vient-il, et où les pousse-t-ils, du monde arabe au Japon, de them, from Arab countries to Japan, from France to New la France à New York ? York? Most of the images in this film were shot in 2013 in Marseille, New York and Paris, as a part of Fatmi’s project “The La plupart des images de ce film ont été tournées en 2013 Journey of Claude Lévi-Strauss”. But beyond the journey entre Marseille, New-York et Paris, dans le cadre du projet itself, Fatmi wants to focus on what makes it impossible. The de fatmi intitulé « Le voyage de Levi Strauss ». Mais plus que “Camargue” seems to return to the harbor without having le voyage lui-même, c’est son impossibilité à laquelle fatmi sailed; only the Moroccan traditional music makes the viewer s’intéresse. Le « Camargue » semble revenir au port sans travel, music that seems to sing about departures… The music avoir vraiment voyagé et seule la musique traditionnelle was recorded by Paul Bowles – the very same Bowles whose marocaine nous emmène au loin, une musique qui chante le loneliness is incarnated in the video “Fragments and départ..
    [Show full text]
  • Présentation-Fondation-Alliances-EN
    A FOUNDATION FIRMLY COMMITTED TO CULTURAL DEVELOPMENT Presentation March 2018 TABLE OF CONTENTS . HISTORY . LCC PROGRAM : THE SUPPORT OF AFRICAN EMERGING PHOTOGRAPHY . PASSERELLES (trans. bridges) : RAISE AWARENESS OF THE VISUAL ARTS . MACAAL : A HUB FOR AFRICAN CREATIVITY . A MONUMENTAL SCULPTURE PARK AT THE FOOT OF THE ATLAS MOUNTAINS . CULTURAL PATRONAGE: UNFAILING SUPPORT FOR THE ARTISTIC MANIFESTATIONS OF THE CONTINENT . PRESS REVIEW . A PASSIONATE AND DYNAMIC TEAM . ASSESSMENT A FOUNDATION FIRMLY COMMITTED TO CULTURAL DEVELOPMENT Founded in 2009, Fondation Alliances is a not-for-profit association whose mission is to support the cultural development of the Kingdom of Morocco by launching flagship programmes, with the support of networks of experts. Through the development of a museographic project (MACAAL), a monumental Sculpture Park, support programmes for emerging African photography (La Chambre Claire - Lcc Program) and awareness- raising on contemporary art (Passerelles – trans. bridges), Fondation Alliances promotes access to the cultural field for a wide audience. It defends the idea of an art accessible to all by developing an important cultural mediation in favour of all social circles and thus participates in the influence of contemporary Moroccan and African art through a demanding approach. FONDATION ALLIANCES BI-ANNUAL AWARD THAT SUPPORTS AFRICAN CONTEMPORARY PHOTOGRAPHY . Production of the first solo exhibition of the award winner . Promotion of the artists on our social media channels and website . The jury is composed of contemporary art professionnals . Networking with institutions at cultural and artistic major events . Production of a catalogue/publication of the artworks in the Lcc Photo Book FONDATION ALLIANCES History and evolution Launched in 2013, La Chambre Claire is a bi-annual award that seeks to promote African emerging contemporary photography.
    [Show full text]
  • MOUNIR FATMI Born 1970, Tangier, Morocco Lives and Works in Paris
    MOUNIR FATMI Born 1970, Tangier, Morocco Lives and works in Paris, France Education 1989 School of Fine Arts, Casablanca, Morocco 1991 School of Fine Arts, Rome, Italy 2005-2007 Rijksakademie van beeldende kunsten, Amsterdam, The Netherlands Selected Solo Exhibitions 2016 Darkening Process, The Marrakech Museum for Photography and Visual Arts, El Badii Palace, Marrakech, Morocco 2015 Modern Times, Miami Beach Urban Studios Gallery, Florida International University, Miami Beach, FL Art et Patrimoine: C’est encore la nuit, French Institute of Meknes/Institut Français de Meknès, Prison Qara, Meknès, Morocco Permanent Exiles, MAMCO, Genève, Switzerland Constructing Illusion, Analix Forever, Genève, Switzerland 2014 The Kissing Circles, Analix Forever, Genève, Switzerland Walking on the Light, CCC, Tours, France Light & Fire, ADN Galeria, Barcelona, Spain Art of War, ADN Platform, Sant Cugat del Vallès, Spain They were blind, they only saw images, Galerie Yvon Lambert, Paris, France 2013 Spot On: Mounir Fatmi, Museum Kunst Palast, Düsseldorf, Germany History is not mine, Paradise Row Gallery, London, UK Le Voyage de Claude Lévi-Strauss, Institut Français de Casablanca, Morocco La Ligne Droite, Galerie Fatma Jellal, Casablanca, Morocco The Blinding Light, Analix Forever, Genève, Switzerland Post Tenebras Lux, Festival A-Part, Les Baux-de-Provence, France Intersections, Keitelman Gallery, Bruxelles, Belgium 2012 Oriental Accident, Lombard Freid Projects, New York, NY Suspect Language, Goodman Gallery, Cape Town, South Africa Kissing Circles,
    [Show full text]
  • Louvre Abu Dhabi's Galleries
    Opening press kit November 2017 For the digital press kit and images: www.louvreabudhabi.ae/pressroom Contents Louvre Abu Dhabi key milestones The partnership between Abu Dhabi and France: A unique cross-cultural collaboration Curatorial statement by Jean Francois Charnier: A universal museum in the era of globalisation Architectural statement by Jean Nouvel: The museum and the sea Masterpieces of the universal narrative: Collection and loans Louvre Abu Dhabi’s galleries Commissioning contemporary artists: Jenny Holzer and Giuseppe Penone Special exhibitions 2017 – 2018 Developing an audience of museum visitors Inspiring the next generation: Children’s Museum and education programmes A new architectural landmark: Key information History of Abu Dhabi and the UAE About Saadiyat Cultural District Key milestones March 2007: The Government of Abu Dhabi and France sign an unprecedented intergovernmental agreement that launches Louvre Abu Dhabi to the world 2009: Talking Art: Louvre Abu Dhabi, a preview exhibition of 19 works acquired for the permanent collection, is held at Emirates Palace February 2009: Louvre Abu Dhabi acquires its first artwork: an abstract painting by Piet Mondrian at the auction of the collection Yves Saint Laurent – Pierre Bergé November 2009: Jean Nouvel visits Rain of Light testing facility, a 1:100 mock-up of the dome, to test the ‘rain of light’ effect 2011: The first edition of Louvre Abu Dhabi’s Talking Art Series begins; the discussion platform ran for five editions January 2013: TDIC awards Louvre Abu Dhabi’s
    [Show full text]
  • In the Afterglow of Louvre Abu Dhabi's Opening, Abu Dhabi Art Moves up A
    In the afterglow of Louvre Abu Dhabi’s opening, Abu Dhabi Art moves up a notch | The Art Newspaper 2/26/18, 1:37 PM In the afterglow of Louvre Abu Dhabi’s opening, Abu Dhabi Art moves up a notch © The Art Newspaper https://www.theartnewspaper.com/news/in-the-afterglow-of-louvre-abu-dhabis-opening,-abu-dhabi-art-moves-up-a-notch Page 1 of 8 In the afterglow of Louvre Abu Dhabi’s opening, Abu Dhabi Art moves up a notch | The Art Newspaper 2/26/18, 1:37 PM Khalid Zahid, Amal (2017) at Hafez Gallery, Abu Dhabi Art Gareth Harris Expectations are especially high at the ninth edition of Abu Dhabi Art, which opened earlier this week (until 11 November) at the Manarat Al Saadiyat art centre in the capital of the United Arab Emirates. The Modern and contemporary art fair coincides with the long-awaited launch of the nearby Louvre Abu Dhabi on Saadiyat Island, which has given the prominent regional fair a new lease of life. The collector Ramin Salsali, who runs a private contemporary art museum in Dubai, told The Art Newspaper: “I’m impressed by the quality of the works at the fair; the Louvre has raised the bar for everyone in the region.” Another major regional collector, https://www.theartnewspaper.com/news/in-the-afterglow-of-louvre-abu-dhabis-opening,-abu-dhabi-art-moves-up-a-notch Page 2 of 8 In the afterglow of Louvre Abu Dhabi’s opening, Abu Dhabi Art moves up a notch | The Art Newspaper 2/26/18, 1:37 PM Basel Dalloul of Beirut, said he was “overwhelmed” by the works on offer.
    [Show full text]